School Of Architecture, Building and Design

Bachelor of Science (Hons) in Architecture

Building Science II

Project 1
Auditorium: A Case Study on Acoustic Design

Tutor: Ar. Edwin

Benjamin Cheng Jia Yeow 0323336

Foong Lih Wey 0322687
Joshua Yim 0317945
Lee Czen Shing 0317832
Nge Jia Chen 0317738
Nor Syarianna Neo 0318236
Tang Ze Zheng 0318967
Yeoh Xiang An 0322691
Table of Content

1.0 Introduction
1.1 Aim & Objective 1
1.2 Site Introduction 1-3
1.3 Technical Drawings and Zoning 4-5
2.0 Acoustics
2.1 Literature Review
2.1.1 Architectural Acoustic 6
2.1.2 Sound Pressure Level (SPL) 7
2.1.3 Sound Reduction Index (SRI) 8
2.1.4 Reverberation Time (RT) 9
2.2 Existing Sound Sources
2.2.1 External Noise 10
2.2.2 Internal Noise 10
2.2.3 Location of Sound Sources 11-12
2.2.4 Sound Reinforcement System 13-17
2.3 Sound Path
2.3.1 General Principles & Application 18-22
2.3.2 PJCC Auditorium Design 23-27
2.3.3 Sound Analysis 28-30
2.3.4 Time Delay 31-33
2.4 Materiality
2.4.1 Sound Absorption Coefficient 34-37
2.4.2 Total Sound Absorption Coefficient Calculation 38-44
2.4.3 Reverberation Time 44
2.5 Discussion 45-46
3.0 Conclusion 47

4.0 References 48

0
1.0 Introduction

1.1 Aim & Objective

The aim and objective of this assignment is to understand and explore the acoustic
characteristics and performance in our selected auditorium, to critically report and
analyze the auditorium and suggest ways to improve the acoustic qualities within
the space and to be able to produce a documentation report based on the data
and analysis we collected.

1.2 Site Introduction

The building we chose is The Petaling Jaya Civic Centre, or commonly referred as
Dewan Sivik or PJCC in short. It is located at Jalan Yong Shook Lin. The civic
centre is a municipal building of Majlis Bandaraya Petaling Jaya (MBPJ) and is
financed publicly to serve as a multipurpose hall for exhibitions, musicals,
performances and recreational events. The hall itself has a built-up area of 49,113
square feet. It consists of 1028 seating capacity air-conditioned auditorium.

Figure 1: Grand entrance of Petaling Jaya Civic Centre

1
Figure 2: Site plan of Petaling Jaya Civic Centre (PJCC)

Figure 3: Panoramic view of the PJCC auditorium

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Figure 4: Photos of PJCC auditorium interior

3
1.3 Technical Drawings and Zoning

Figure 5: Floor Plan of PJCC auditorium

4
 Figure 6: Section of PJCC auditorium

Zoning

Figure 7: Zoning of auditorium seatings

For better clarification, we have categorised the auditorium seatings into 3

zones: Zone 1 where the front section of the seats is located, Zone 2 where
the back section of the seats under the balcony is located, Zone 3 where
the seats are located on the balcony. Different zones have different
acoustical properties affecting them due to distances and form of the
auditorium. These will be further addressed in the later part of the report.

5
2.0 Acoustics

2.1 Literature Review

2.1.1 Architectural Acoustic

Architectural acoustics is the study of how sounds are reflected in rooms, is

largely concerned with how indirect sound changes the quality of the sounds
we hear in rooms. The major factor affecting indirect sound is the amount
of sound is absorbed by the walls, ceiling, and floor of the room. If most of
the sound is absorbed, then there are few sound reflections and little indirect
sound. If most of the sound is reflected, then there are many sound
reflections and a large amount of indirect sound. Another factor affecting
indirect sound is the size and shape of the room. This determines how
sound hits surfaces and the directions in which it is reflected.

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2.1.2 Sound Pressure Level (SPL)

Sound pressure level is the most commonly used indicator of the acoustic
wave strength and correlates well with human perception of loudness. A
compilation of the sound pressure levels generated by representative
sources is indicated in the following diagram:

When the sound pressure is equal to the reference pressure the resultant
level is 0dB. The sound pressure level is defined as:

Since the intensity is proportional to the square of the sound pressure as

shown in the equation above, the intensity level and the sound pressure
level are almost equal, differing only by a small number due to actual value
versus the reference value of the airs characteristic impedance. This fact is
most useful since we both measure and hear the sound pressure, but we
use the intensity to do most of our calculations.

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2.1.3 Sound Reduction Index (SRI)

The sound insulation of a partition (e.g. a wall) is expressed by the Sound

Reduction Index/Transmission Loss Index (R). By definition, it is the
difference between two power levels in a given medium between average
local pressure, therefore expressed in decibel unit (dB).

Sound Reduction/Transmission Loss Index is defined as:

Where TL = Transmission on Coefficient of Material

S = The surface area of material

8
2.1.4 Reverberation Time (RT)

The amount and duration of indirect sound produced by a room is

expressed as reverberation time - the time it takes for the sound to
decrease to 1/1000th of its original pressure (or a decrease in level by
60dB). Reverberation time is an important index to describe the acoustical
quality of an acoustic enclosure.

Reverberation time is defined by:

Where RT = Reverberation Time (Sec)

V = Volume of the Room (cu.m)
A = Total Absorption of Room Surfaces (sq.m sabins)

If the reverberation time of a room is too long, sounds become muddled

because the reflected sounds persist for too long. If the reverberation time
is too short, music sounds dead, and it becomes more difficult to
produce high-intensity sounds.

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2.2 Existing Sound Sources

2.2.1 External Noise

The occurrence of rain, thunderstorm and road traffic (Jalan Taman 7/6,
Jalan Yong Shook Lin) might cause unwanted noise which will disrupt the
acoustical quality of the auditorium due to the loud sound it produced.

2.2.2 Internal Noise

Most of the internal noises produced in the auditorium are high frequency
noises such as the slamming of entrance doors, human chatters and
electrical appliances. These noises can affect the overall acoustical quality
as it is easily noticed compared to the low frequency noises (air-conditioning
units).

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2.2.3 Location of Sound Sources

11
Conclusion:

The identification of these sound sources which are noise will enable us to justify if
acoustical interventions have been taken to reduce noise through sound absorption,
diffusion, and to improve incident sounds from the stage through sound reflection etc.
These will be discussed in our analysis where acoustical performance of the PJCC
auditorium as a whole will be studied.

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2.2.4 Sound Reinforcement System

Due to the nature of a large auditorium, sound reinforcement system is used

to accommodate the large volume where sound is better heard across the
audience, especially in areas which have sound shadows. PJCC auditorium
uses a centrally locate system, which is common among many other
auditoriums, with a single cluster of loudspeakers over a sound source. This
system gives maximum realism as the amplified sound comes from the
same direction as original sound. Additional sound speakers are located at
the side walls of the auditorium for sound to be directed to zones located at
the further end of the auditorium.

Below are the identified sound reinforcement system used in PJCC:

Figure 8: Location of the sound reinforcement system in PJCC auditorium

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1. JBL MRX525 Dual 15" 2-Way Speaker System

The MRX525 is an excellent choice when the application calls for high
performance and simplicity. A pair of MRX525s and a single, high-power
amplifier is a complete sound system capable of reinforcing bass and kick
drum or playing high-level music in clubs and other venues. The MRX525
is comprised of two 380 mm (15") 265H Differential Drive woofer with
combined power handling of 800 watts (continuous). For the high
frequencies, the 2408H 37.5 mm (1.5") annular polymer diaphragm,
neodymium compression driver is mounted to a 70 x 70 horn.

Specifications:

Power Rating: 800 W/1600 W/3200 W

Frequency Range: 40 Hz - 20 kHz
Dimensions: 48.75" H x 21" W x 18" D (1240 mm x 535 mm x 460 mm)
Frequency Response: 57 Hz - 20 kHz
Sensitivity: 100 dB SPL
Nominal Impedance: 4 ohms
Rated Maximum SPL: 135 dB SPL peak
Coverage Pattern: 70 x 70 nominal
High Frequency Driver: 1 x JBL 2408H 37.5 mm (1.5") annular polymer
diaphragm, neodymium compression driver
Low Frequency Driver: 2 x JBL 265H 380 mm (15") Differential Drive
woofer.

(Excerpt taken from jblpro.com)

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2. JBL MRX515 15" 2-Way Loudspeaker

The MRX515 is high-power, lightweight two-way loudspeaker system

offering a very high level of performance from a speaker that can be placed
on a pole or standard speaker tripod stand. The MRX515 is comprised of a
380 mm (15 in) 265H Differential Drive woofer which handles 400 watts
(continuous) yet the entire system weighs only 19.5 kg (43 lbs). For the high
frequencies, the 2408H 37.5 mm (1.5 in) annular polymer diaphragm,
neodymium compression driver is mounted to a 70 x 70 horn. The
enclosure is constructed of quality plywood and coated in JBL's rugged
DuraFlexT finish.

Further Specs:

Power Rating: 400 W / 800 W / 1600 W

Frequency Range: 52 Hz - 20 kHz
Dimensions (H x W x D): - 692 mm x 432 mm x 470 mm
- (27.25 in x 17 in x 18.5 in)
Frequency Response: 65 Hz - 20 kHz
Sensitivity: 98dB @ 1m (3.3 ft.)
Nominal Impedance: 8 ohms
Rated Maximum SPL: 130 dB SPL peak
Coverage Pattern: 70 x 70 nominal
High Frequency Driver: 1 x JBL 2408H 37.5 mm (1.5 in) annular
polymer diaphragm, neodymium compression driver
Low Frequency Driver: 1 x JBL 265H 380 mm (15 in) Differential
Drive woofer

(Excerpt taken from jblpro.com)

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3. JBL Control SB-210

JBL Control SB-210 Subwoofer provides low frequency reinforcement

for a wide variety of sound system applications. Its compact size, high
output and outdoor capable design make it one of the most versatile
subwoofers in the installation market. The internal angled baffle allows
for a large port opening and compact front dimensions without
compromising driver size. JBL SB-210 produces warm, punchy low-
end sound.
The Aluminum/Ceramic Composite Diaphragm 10" Drivers are rated
for pink noise power handling of 200 Watts each, providing 400 Watts
(1600 Watt peaks) of system power handling. The dual driver design
also allows for stereo operation of the enclosure and provides great
flexibility when used with one of the optional network accessory kit.
Specifications
2 x 250 mm (10 in.) Aluminum/Ceramic Composite Cone Drivers
400 Watts Power Handling
Fully Outdoor Capable Design
SonicGuard Overload Protection
13 x M6 Suspension Inserts, Including Inserts for Optional
UBracket
AV Shielded
Compact, Low Profile Design

(Excerpt taken from jblpro.com)

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The identification of the sound reinforcement system used has allowed us
to further calculate the sound intensity level (SIL) where sound pressure is
measured. The calculation are shown as below:

Side Speakers
JBL MRX525 (6 Units)
100dB

SIL: 10 log (I/Io)

100: 10 log (I / 1x 10-12)
10: log (I / 1x 10-12)
1 x 1010: (I 100/ 1x 10-12)
I: (1 x 1010) x (1 x 10-12)
I: 0.01
: 1 x 10-2
1 x 10-2 x 6 (number of units): 0.06

Top Speakers
JBL MRX515 (1 Unit)
98dB

SIL: 10 log (I/Io)

98: 10 log (I / 1x 10-12)
9.8: log (I / 1x 10-12)
6.3 x 109: (I / 1x 10-12)
I: (6.3 x 109) x (1x 10-12)
I: 6.3 x 10-3

Total Intensity
0.06 + 6.3 x 10-3
: 0.0663

tSIL: 10 log (It / 1x10-12)

: 10 log (0.0663 / 1x10-12)
: 10 log (0.0663) - 10 log (1x10-12)
108.22dB

Human Speech
70dB
SIL: 10 log (I/Io)
70: 10 log (I / 1x 10-12)
7: log (I / 1x 10-12)
1 x 107: (I / 1x 10-12)
I: (1 x 107) x (1x 10-12)
I: 1 x 10-5

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2.3 Sound Path

2.3.1 General Principles & Application

When designing an enclosed space such as an auditorium, the architect will

need to provide the best conditions for the production and the reception of
desirable sound and to exclude unwanted sound (noise) by paying attention
to the control of sound in that space. Control of sound are usually influenced
by the form and the materiality used in the space. The most difficult aspect
of hall design is the ambiguity of the goal itself, where different usage, based
on function, of the auditorium have different acoustical requirements.

Balcony

Figure 9: Distance from stage to seating area differs with the addition of a balcony.

An auditorium design which includes a balcony is usually used to decrease

the distance from the stage to seating areas and to provide unobstructed
views.

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 Figure 10: Concave shape balcony design

The front of a balcony parapet should be designed to avoid strong

reflections that could affect sound quality in the front seating areas. Hence,
the plan view of the balcony usually has a concave shape.

Wall

Walls in front of an auditorium are usually flat, to produce strong early

reflections that are integrated with the direct sound to enhance it before
reaching the audience. The depth of the front stage is used to achieve
proper blend of sounds from various instruments and voices before
distributing to the audience.

On the other hand, walls around an auditorium are encouraged to be

splayed or tilted to avoid parallelism. This will avoid flutter echoes from
taking place. Angles can also be advantageously used to direct reflected
sound to the audience seating area, and to provide diffusion. Any surface

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that introduces undesirable angle should be covered with absorptive
material to reduce acoustical defects.

Figure 11 : Splayed walls help reflect sound while avoiding flutter echoes

Floors

Figure 12: Raked floor allows better line of sight, no visual obstruction

A raked (sloped) floor is desirable especially for large halls designed either
for music or speech. A raked floor improves sight lines and allows listener
to receive more direct sound than would be available on a flat floor.

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Ceiling

Figure 13: Ceiling that is too high will result in undesirable late reflections

Ceiling height is usually determined by the overall room volume that is

required. A ceiling that is too high in a room may create undesirable late
reflections.

Figure 14: Convex-surfaced ceilings prevents flutter echoes

To avoid potential flutter echo, the ceiling should not be parallel to the floor.
Instead, it should be geometrically designed to direct sound to the rear of
the hall or to diffuse it throughout the hall.

Figure 15: Concave surfaces will result in sound concentration

Concave surfaces such as barreled ceilings and domes should be avoided

to prevent sound concentration which is an unwanted acoustical defect.

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 Optimal Reverberation Time

An optimal reverberation time is required in order to have top acoustical

performance. Reverberation time that is too long will mask speech syllables
and music phrases in addition to a deterioration of speech intelligibility and
music quality. Reverberation time that is too short, will cause music and
speech to lose character, thus affecting quality. Figure 16 shows a graph
where typical reverberation time of spaces are based on.

Figure 16: Typical Reverberation Time of Spaces

Conclusion:

There are many design considerations that need to be taken based on different
components which contribute to and ultimately affect the overall acoustical performance
of a space (auditorium).

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2.3.2 PJCC Auditorium Design

Figure 17: PJCC Auditorium has a fan-shaped plan with balcony layout

Figure 18: PJCC Auditorium design considerations

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From Figure 17 and Figure 18, we can observe that the PJCC auditorium
design adheres to the general principles of sound where design
considerations mentioned earlier have been made to improve overall
acoustical performance. We will now look at how the selection of materials
also affect the acoustical properties of the auditorium shown below.

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25
26
27
2.3.3 Sound Analysis

Sound Reflection

Figure 19: Sound reflection diagrams on plan and section

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 Sound reflection occurs when sound is bounced off a surface. This
usually occurs on flat, rigid surfaces like concrete or brick walls. Sound
waves that are unable to penetrate very far into the surface causes the
wave to ricochet back against its direction.

From Figure 19, the stage located at the front has flat surfaces. This is
to produce strong early reflections that are integrated with the direct
sound and enhance it. On the contrary, strong late reflections and
reverberation at the walls of the audience level are not appreciated. In
other words, the stage area and front of the hall are generally made
reflective while absorption of sound is placed in the seating area and rea
of the hall.

Figure 20: Balcony dimension (L) & Sound shadow diagram (R)

Due to the depth of the balcony overhang, sound shadow is produced.

Sound shadow is an area through which sound waves failed to
propagate due to obstruction. Sound reinforcement system is used to
tackle this issue.

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 Sound Diffusion
Sound diffusion is important in room acoustics because constant strong
reflection of sound waves will create undesirable sound effect. Sound
diffusion helps break the wave pattern into several other directions which
depletes its energy faster. When a sound wave hits an irregular surface
such as the carpet, the vibration breaks up and divides the energy of the
wave into smaller paths. In PJCC auditorium, timber strip panels and
carpet help diffuse sound better, reducing strong reflection from
constantly bouncing off within the space.

Sound Absorption
When a sound wave hits a surface, the kinetic energy it contains is
converted into small amount of heat energy which dissipates, causing it
to decay faster. How well a material absorbs sound depends on several
factors, such as material density and how porous it is. Carpets and
timber strip panels offer a small sound absorption especially though its
porous nature (carpet) or cavities designed (timber strip panels) where
sound dissipates within this tiny space.

Conclusion:

Sound diffusion and reflection both occurs within PJCC auditorium with the materiality
used. Both are important in ensuring best production and reception of sound from the
incident, and the exclusion of unwanted sound. Some materials such as carpets aid in
sound properties where it both reflects and diffuse sound, which benefits in the overall
acoustical performance. Sound diffraction do occur but not in the auditorium setting, but
through adjacent spaces such as the toilet which has no sound lock. Noises produced
from the toilet diffracts out through doorways into the auditorium, disturbing the acoustics
of the space.

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2.3.4 Time Delay

Time delay is calculated to see how direct sound is reinforced through

sound reflection. If time delay is relatively short, reflected sound beneficially
reinforces sound. However, if time delay is long, reflected sound will result
in echoes. Time delay is calculated using this formula:

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32
Conclusion:

From the time delay obtained based on sound reflection in addition to the incident sound,
we can deduce that it has both the qualities of a music hall and a speech hall, which
ultimately result in a good multi-purpose auditorium, since it accommodates both types of
activities.

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2.4 Materiality

2.4.1 Sound Absorption Coefficient

Sound absorption within a room is essential, acoustical absorption created

inside the room limits reverberation therefore reducing overall sound
energy. The amount of sound energy absorbed depends on type of material,
weight and pleating width. The term used to define a material sound
absorption is its coefficient of absorption. An absorption coefficient of 1.0
indicates 100% absorption of sound energy. Therefore, the larger the
absorption coefficient is, the more effective sound absorber the material is.
Note that the absorption coefficient varies with the sound frequency Hz.
Figure 21 and Table 1 shows the identified material and the respective
Absorption Coefficient.

Figure 21: Identified materials used in PJCC auditorium

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 Stage Area
Material Picture Absorption Coefficient
125Hz 500Hz 2000Hz
Floor Stage Smooth Timber 0.15 0.10 0.06
S1 Flooring

Wall Plastered Concrete Wall 0.04 0.06 0.04

S2 (Rough)

Fabric Stage Curtain, 0.1 0.4 0.6

S4 Hung straight and close to
wall,
Light Velour

Audience Area
Material Picture Absorption Coefficient
125Hz 500Hz 2000Hz
Floor Carpet, thin, over thin felt 0.2 0.35 0.5
A1 on concrete

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Wall Rough Plastered 0.04 0.06 0.04
A2 Concrete Wall &
Columns

A3 Timber Batten Wall 0.4 0.3 0.2

( On ground floor back
area, as well as
1st floor area)

A4 V-Shaped Timber Batten 0.5 0.3 0.1

Acoustics Panel

36
 Seating Cushioned tip-up theatre 0.07 0.28 0.5
A5 seats, unoccupied

Ceiling Plasterboard Ceiling 0.3 0.1 0.05

A6 backed with Bitumen

Air - - 0.007
Table 1: Identified materials and their respective Absorption Coefficients

Conclusion:

As seen from the tabulation data above, it can be concluded that timber is widely used as
an acoustical feature in our featured auditorium and has a fairly good sound absorption
coefficient value. Timber acoustic performance is fairly good as its network of small
interlocking wood cells converts sound energy into heat energy by frictional resistance
within these cells and by vibrations within their sub-structure. Because of this internal
friction, timber has a stronger sound dampening capacity than most structural materials.
The natural acoustic properties of timber control excessive echo or reverberation, by
reducing the transmission of sound vibrations, hence this is why the walls of the
auditorium is thoroughly cladded, lined with acoustic timber panels and timber battens.

37
2.4.2 Total Sound Absorption Coefficient Calculation

The total Sound Absorption Coefficient Calculation is made using the

coefficient values from 2.4.1 and the location of materials from Figure 22
below:

Figure 22: Location of materials used in PJCC auditorium

38
F1 (Stage Wood Batten Floor)
Area: 231.58 m
Absorption Coefficient: 0.1
231.58 x 0.1: 23.16

F2 (Carpet Floor)
Area: 530.52m
Absorption Coefficient: 0.35
530.52 x 0.35: 185.68

F3 (Carpet on Second Floor)

Area: 263.76m
Absorption Coefficient: 0.35
263.76 x 0.35: 93.32

B1 (Wood Panels)
Area: 2.4m x 5m: 12m
Absorption Coefficient: 0.3
12 x 0.3: 3.6
3.6 x 6 (number of panels): 21.6

B2 (Wood Panels)
Area: 2m x 5m: 10m
Absorption Coefficient: 0.3
10 x 0.3: 3
3 x 6 (number of panels): 18

B3 (Wood Batten Panels)

Area: 5m x 2m: 10m
Absorption Coefficient: 0.3
10 x 0.3: 3
3 x 6 (number of panels): 18

PW 1 (Plaster Wall Above Wood Panels)

Area (top): 2.4m x 0.33m x 0.5: 0.4m
Area (bottom): 2.4m x 2.2m: 5.28m
Total Area: 0.4 + 5.28: 5.68m
Absorption Coefficient: 0.06
5.68 x 0.06: 0.34
0.34 x 2 (number of walls): 0.68

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PW 2 (Plaster Wall Above Wood Panels)
Area (top): 2.4m x 0.9m x 0.5: 1.08m
Area (bottom): 2.4m x 2.4m: 5.67m
Total Area: 1.08 + 5.67: 6.84m
Absorption Coefficient: 0.06
6.84 x 0.06: 0.41
0.41 x 2 (number of walls): 0.82

PW 3 (Plaster Wall Above Wood Panels)

Area(top): 2.4m x 1.1m x 0.5: 1.32m
Area (bottom): 2.4m x 3.1m: 7.44m
Total Area: 1.32 + 7.44: 8.76m
Absorption Coefficient: 0.06
8.76 x 0.06: 0.53
0.53 x 2 (number of walls): 1.06

PW 4 (Plaster Wall Above Wood Panels)

Area (top): 2m x 0.17m x 0.5: 0.17m
Area (bottom): 2m x 3.4m: 6.8m
Total Area: 0.17 + 6.8: 6.97m
Absorption Coefficient: 0.06
6.97 x 0.06: 0.42
0.42 x 2 (number of walls): 0.84

PW 5 (Plaster Wall Above Wood Panels)

Area (top): 2m x 0.47m x 0.5: 0.47m
Area (bottom): 2m x 3.6m: 7.2m
Total Area: 0.47 + 7.2: 7.67m
Absorption Coefficient: 0.06
7.67 x 0.06: 0.46
0.46 x 2 (number of walls): 0.92

PW 6 (Plaster Wall Above Wood Panels)

Area (top): 2m x 0.7m x 0.5: 0.7m
Area (bottom): 2m x 4.1m: 8.2m
Total Area: 0.7 + 8.2: 8.9m
Absorption Coefficient: 0.06
8.9 x 0.06: 0.53
0.53 x 2 (number of walls): 1.06

PW 7 (Plaster Wall Above Wood Panels)

Area: 3.9m x 2m: 7.8m
Absorption Coefficient: 0.06
7.8 x 0.06: 0.47
0.47 x 4 (number of walls): 1.87

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PW 8 (Plaster Wall Above Wood Panels)
Area (top): 2m x 0.14m x 0.5: 0.14m
Area (bottom): 3.9m x 0.14m: 7.8m
Total Area: 0.14 + 7.8: 7.94m
Absorption Coefficient: 0.06
7.94 x 0.06: 0.48
0.48x 2 (number of walls): 0.96

C1 (Plaster Column)
Area (Front): 0.6m x 10m: 6m
Area (Side): 0.3m x 10m: 3m
Absorption Coefficient: 0.06
6 x 0.06: 0.36
0.36 x 2 (number of columns): 0.72
3 x 0.06: 0.18
0.18 x 4 (number of columns): 0.72

C2 (Plaster Columns)
Area (Front): 8m x 0.3m: 2.4m
Area (Side): 8m x 0.6m: 4.8m
Absorption Coefficient: 0.06
2.4 x 0.06: 0.14
0.14 x 12 (number of columns): 1.68
4.8 x 0.06: 0.29
0.29 x 24 (number of columns): 6.96

C3 (Plaster Columns)
Area (Front): 0.6m x 8m: 4.8m
Area (Side: 8m x 0.6m: 4.8m
Absorption Coefficient: 0.06
4.8 x 0.06: 0.29
0.29 x 2 (number of columns): 0.58
4.8 x 0.06: 0.29
0.29 x 4 (number of columns): 1.16

C4 (Plaster Columns)
Area (Front): 3.5m x 0.6m: 2.1m
Area (Side): 3.5m x 0.6m: 2.1m
Absorption Coefficient: 0.06
2.1 x 0.06: 0.13
0.13 x 2 (number of columns): 0.26
2.1 x 0.06: 0.13
0.13 x 4 (number of columns): 0.52

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C5 (Plaster Columns)
Area (Front): 11m x 0.6m: 6.6m
Area (Side): 11m x 0.6m: 6.6m
Absorption Coefficient: 0.06
6.6 x 0.06: 0.4
0.4 x 2 (number of columns): 0.8
6.6 x 0.06: 0.4
0.4 x 4 (number of columns): 1.6

C6 (Wood Batten Columns)

Area (Front): 5.3m x 0.6m: 3.18m
Area (Side): 5.3m x 0.6m: 3.18m
Absorption Coefficient: 0.3
3.18 x 0.3: 0.95
0.95 x 2 (number of columns): 1.91
3.18 x 0.3: 0.95
0.95 x 4 (number of columns): 3.8

W1 (Wood Batten Wall)

Area (top): 2.7m x 1.6m: 4.32m
Area (bottom): 6.3m x 0.53m x 0.5: 1.7m
Area (side): 6.3m x 2.2m: 13.86m
Total Area: 4.32 + 1.7 + 13.86: 19.88m
Absorption Coefficient: 0.3
19.88 x 0.3: 5.96
5.96 x 2 (number of walls): 11.92

W2 (Wood Batten Walls)

Area (top): 7.6m x 2.2m: 16.72m
Area (bottom): 7.6m x 0.96m x 0.5: 3.65m
Total Area: 16.72 + 3.65: 20.37m
Absorption Coefficient: 0.3
20.37 x 0.3: 6.11
6.11 x 2 (number of walls): 12.22

W3 (Wood Batten Walls)

Area (top): 7.5m x 2.1m: 15.75m
Area (bottom): 7.5m x 1m x 0.5: 3.75m
Total Area: 15.75 + 3.75: 19.5m
Absorption Coefficient: 0.3
19.5 x 0.3: 5.85
5.85 x 2 (number of walls): 11.7

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W4 (Front Wall Lower Part)
Area: 2.5m x 8m: 20m
Absorption Coefficient: 0.3
20 x 0.3: 6

W5 (Front Wall Lower Part Left and Right)

Area: 4.7m x 8m: 37.6m
Absorption Coefficient: 0.3
37.6 x 0.3: 11.28
11.28 x 2 (number of walls): 22.56

W6 (Front Wall Top Part)

Area: 22.4m x 3m: 67.2m
Absorption Coefficient: 0.06
67.2 x 0.06: 4

S1 (Wood Slot)
Area: 0.3m x 2.5m: 0.75m
Absorption Coefficient: 0.3
0.75 x 0.3: 0.23
0.23 x 12 (number of slots): 2.76

S2 (Wood Slots)
Area: 0.3m x 2m: 0.6m
Absorption Coefficient: 0.3
0.6 x 0.3: 0.18
0.18 x 6 (number of slots): 1.08

L1 (Ceiling)
Area: 530.52m
Absorption Coefficient: 0.06
530.52 x 0.06: 31.83

L2 (Ceiling of Second Floor)

Area: 263.76m
Absorption Coefficient: 0.1
263.76 x 0.1: 26.38
CU 1 (Stage Curtain)
Area: 29m x 7.8m: 226.2m
Absorption Coefficient: 0.4
226.2 x 0.4: 90.48

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CH 1 (Seats)
Area: 0.5 x 0.5: 0.25m
Absorption Coefficient: 0.28
0.25 x 0.28: 0.07
0.07 x 678 (number of seats): 47.46

Total Sound Absorption Coefficient: 657.07

2.4.3 Reverberation Time

RT = 0.16V/ A
V =5139.67m
RT = 0.16 (5139.67m) / 657.07
= 822.34 / 657.07
= 1.25sec

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2.5 Discussion

Figure 23: Reverberation Time of PJCC auditorium in comparison with other spaces.

PJCC auditorium has a reverberation time (RT) of 1.25s which is within the
recommended range of 1.00s 1.25s for a medium sized multi-purpose auditorium.
This overall shows that the acoustical properties of the auditorium have been
achieved successfully and it functions well. The auditorium design (form & volume)
and the choice of materiality for sound absorption, diffusion and reflection has
ultimately affect the overall result of the reverberation time. In order to further lower
the RT, some interventions could be made.

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 Figure 24: Sound lock between toilet space and the auditorium

For example, the toilet located in the auditorium has no sound lock which has
resulted in unwanted sound diffraction into the space. The design could be
improved by introducing sound lock which acts as a buffer zone where sound from
the toilet could slowly dissipate without entering the auditorium. Entrances could
also include sound lock so that movements in and out of the auditorium will not
create significate noise which disturbs the atmosphere of the auditorium. Curtains
could be used at the doorways to further dampen the sound waves.

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3.0 Conclusion

Through this project, we learned that a successful design of auditoriums depends a

lot on its acoustic design which includes the auditorium layout and the types
absorption materials used. Acoustic plays the role of preserving and enhancing the
desired sound and to eliminate noise and undesired sound. After visiting and doing
research on our chosen building, we learned about material absorption coefficient and
how to identify existing acoustic and sound sources. Through those information, we
then learned to calculate and analyze the data we collected from site. Thus, enabling
us to learn about acoustic ray bouncing diagrams, sound pressure level, sound
reduction index and reverberation time.

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4.0 References

Acoustic Sciences Corporation. (2017). Acousticsciences.com. Retrieved 1 May 2017,

from http://www.acousticsciences.com/media/articles/auditorium-acoustics-103-
speakers-make-sound-acoustics-clean-it

Auditorium Acoustics. (2017). Ccrma.stanford.edu. Retrieved 1 May 2017, from

https://ccrma.stanford.edu/CCRMA/Courses/152/auditorium_acoustics.html

Auditorium Acoustics 104. (2017). Church-acoustics.com. Retrieved 1 May 2017, from

http://www.church-acoustics.com/articles/auditorium-acoustics-104/

Goldstein, E. (2010). Sensation and perception (1st ed.). Australia: Wadsworth

Cengage Learning.

Hassan, O. (2009). Building acoustics and vibration (1st ed.). Hackensack (N.J.): World
Scientific.

Hopkins, C. (2007). Sound insulation (1st ed.). Butterworth-Heinemann.

Long, M. (2014). Architectural acoustics (1st ed.). Amsterdam: Academic Press.

Mehta, M., Johnson, J., & Rocafort, J. (1999). Architectural acoustics (1st ed.). Upper
Saddle River, NJ [u.a.]: Prentice Hall.

Quiet Classrooms - How to measure reverberation time?. (2017). Quietclassrooms.org.

Retrieved 1 May 2017, from http://www.quietclassrooms.org/library/test2.htm

The Importance of Auditorium Acoustics -- School Planning & Management. (2017).

School Planning & Management. Retrieved 1 May 2017, from
https://webspm.com/Articles/2014/05/01/Auditorium-Acoustics.aspx

Slides:

by Ar. Edwin Chan (March 2017)

Lecture 1 Fundamentals of Architectural Acoustics
Lecture 2 Room Acoustics
Lecture 3 Noise & Noise Control

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